Proceedings of the First International Congress on Construction History, Madrid, 20th-24th January 2003, ed. S. Huerta, Madrid: I. Juan de Herrera, SEdHC, ETSAM, A. E. Benvenuto, COAM, F. Dragados, 2003.

Quincha architecture: The development of an antiseismic structural system in seventeenth century Lima

Humberto Rodríguez Camilloni

The introduction of quincha construction in the City of Kings or Lima during the middle of the seventeenth century marked a decisive turning point in the devel- opment of Spanish co]onia] architecture along the Peruvian coast. Not only did this ingenious antiseismic structural system provide a definitive solution to the earthquake problem that had plagued several generations of builders since the founding of the vicerega] capital by Francisco Pizarro in 1535, but it also permitted the creation of monumenta] and lofty interior spaces which paraJleled and even rivaled European designs. Surprising]y, however, quincha construction has received only a general and inadequate treatment in the artistic literature of Spanish colonia] architecture; its fuJl impact stilI awaiting recognition in the history of construction. I In an effort to help fill this void, this paper investigates the earthquake-proof system of quincha and its formal implications, as a cornerstone in the history of South American colonial architecture. In the viceroyalty of Peru, possibly no greater chalIenge confronted the colonia] architects than that of designing buildings that could withstand the frequent earthquakes. Time and again European and viceregal architects had seen the failure of their efforts, incJuding the anachronistic use of Gothic ribbed vaulting in the Cathedral of Lima folJowing ] the earthquake of 609 because it was believed it Figure 1 2 wou]d provide a more resistant structura] system. Constantino de Vasconcelos and Manuel de Escobar: Lima. Neverthe]ess, only with the construction ofthe church Church of San Francisco, west fa\ade, 1657-74 (photo of of San Francisco in ]657-74 (Fig. 1) was a more 1973) 1742 H. Rodríguez effective solution to the problem found through the On the plains of the seacoast, there are two types of use of the antiseismic system of construction known houses. Some are of hahareque and others are of earth as quincha construction. Credit for this revolutionary and adobe. Those of hahareque have for walls and innovation is given to its designer, the Portuguese enclosures a very tight lattice woven likewattle. In making it they set certain thick canes or poles in the architect Constantino de Vasconcelos (d. 1668), and grollnd very close together. and at abollt two cubits from his Peruvian assistant Manuel de Escobar the ground, the run a reed in between in the way of a weft, (1639-1693), who supervised its construction until leaving on each side half of the above-mentioned poles 3 completion. Vasconcelos' originality, however, set in the ground, which cross over that lateral reed like consisted in adapting an ancient Pre-Columbian interweaving; at a similar distance another lateral rced is system of construction for the complex forms of placed, and in this way with three or t'our lateral reeds different types of vaults that a large scale building which are crisscrossed and interwoven bctween those required. The term quincha is in fact derived from the poles that stand upright, they have completed a wal! more Quechua kencha and is synonymous of bahareque, or less two estados in height. We call this type of wal! typicaJly used to identify the walls of primitive huts hahareque, taking the word from the Island of Hispaniola or Tierra Firme. while the natives of this kingdom use the or of other simple constructions made of cane or term quencha. Some dallb this hahareque or wattle with bamboo and mud by the indigenous peoples of the mud; others do not. The roof is constructed over this 4 continent (Fig. 2). A good description of these wattle, and since in this land it never rains, the mof structures is given by Bernabé Cobo in his Historia requires no more workmanship than a covering 01' del Nuevo Mundo (1613-1653): branches for protection from the sun; it was made with lateral poI es and a matting of reeds on topo This is not a sloping mof; rather it is fiat and levellike a terrace. These houses of bahareque are in the t'orm of a square. very humble, smal!. and low. This is the style of the majority 01'the hOllses of small towns and settlements 01'the Indian fishermen who live on the coast.'

The arid climate of the Peruvian coast noted by Cobo made quincha an economic, practical and durable system of construction, except during the rare episodes of «El Niño» phenomenon which brought torrential rains and major destruction to the settlements in the region. The primary materials for quincha construction are wood for the structural frame and cane or bamboo for the filI-in webs. The woods most commonly used in Lima were oak (roble) and cedar (cedro), strong woods resistant to insect infestation that had to be imported from Ecuador or Central America. There are also different types of bamboo (depending on the geographic location) exhibiting physical variations most noticeabJe in the thickness of the stems, and in the size and distributions of the nodes, internodes, and branches of the culms. For example, the Bambusa arundinacea is a thick-walled bamboo with inflated nodes and heavy, solitary, thorny lower branches (Fig. 3, A); the Bambusa textilis is a thin-walled bamboo with cylindrical internodes, non-inflated nodes tlared at Figure 2 Primitive South America: Traditional hut showing the sheath scar, and branch buds lacking at the Jower hahareque or quincha wall construction (from Federico no des and tardily developed above (Fig. 3, D); Vegas. Venezuelan Vernacular, 1985) whereas Bambusa vulgaris is a moderately thick- Quincha architecture: The development of an antiseismic structural system 1743

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Figure 3 Examples of different bamboos with structural variations in the nodes, internodes and branches of the culms (after V. Hartkopf. Técnicas de com'frucción autóctonas del Perú)

walled bamboo, with inflated nodes, dormant branch Escobar and don Juan Santoyo de Palma, «síndico de buds below, and prominent branch complements above la fábrica de San Francisco», it is stipulated that (Fig. 3, C). It shou]d be noted that in al1 bamboos the Escobar would assume the obJigation of directing and diaphragm forms a transverse strengthening structure overseeing the construction of the church folJowing at each node. Ó By the time the Franciscan community the plan and design of Vasconcelos: commissioned Vasconcelos to design a new church to rep]ace an earlier structure that had collapsed in 1656, Manuel de Escobar, como tal oficial de albañil. se obligÓ his reputation as one of the Jeading architects of the de trabajar y que trabajara en la obra de la dicha iglesia viceroyalty had be en well established. His impressive desde hoy dia de la fecha de esta escritura en adelante credentials as «nuevo Arquímedes en las Matemáticas, hasta que se acabe la dicha iglesia por precio de tres pesos Platón en la Filosofía natural, y Diógenes Estoico en de a ocho reales cada dia de trabajo, trabajando de la vida de la naturaleza filosofal»-according to a manufactura personalmente y haciendo oficio de aparejador, maestrando toda la dicha obra siguiendo en contemporary source 7-also included work as todo la planta y disposiciÓn de don Constantino military engineer in the mercury mines of Basconselos [sic], sin salir de su orden en quanto a la Huancavelica in 1643 and lwo years as a designer of disposición y fábrica de dicha iglesia, sin pedir más fortifications in the port of Valdivia (Chile), for precio ni otro concierto en ningún tiempo mientras durare which he had earned the prestigious title of la dicha obra, hasta acabarse la dicha iglesia de todo «cosmógrafo e ingeniero mayor». ~ The choice of punto ni poder salirse a otra obra dentro ni fuera de la Vasconcelos as the designer of the church of San dicha ciudad, sinó sólo a la de la dicha iglesia de Señor Francisco was therefore understandable, but it is also San Francisco. 9 c]ear that from the very beginning the limeño assistant Manuel de Escobar was given the full responsibiJity The details of thi s contract also help explain how it of the execution of the project. Thus, according to the was possible for Escobar to carry on with the project notarial contract signed in Lima on June 14, 1659 by alone after Vasconcelos' death in 1668, for by that 1744 H. Rodríguez time he had acquired sufficient experience and [son como] las conchas del Galápago [que] muestra[n] la authority to introduce some important changes to the parte convexa, y cóncava, no en esfera, sinó en arco original designo Evidence of this is apparent from a triunfal, y las velas de un navío con próspero viento 11 comparison of two contemporary engravings that llenas, [las] representan muy bien. appear in the history of the construction of the new church of San Francisco by Fray Miguel Suárez de This impression must have been in sharp contrast Figueroa and Fray Juan de Benavides. 10 One of these to the interior of the other large churches in Lima that engravings by Pedro Nolasco Mere datable C. 1673 had flat wooden ceilings (artesonados) with shows Vasconcelos' original design; whereas the Renaissance or mudéjar decoration or, as was the other, by Benavides himself and datable c. 1674 case with the Jesuit church ofthe college of San Pablo shows the church as built by Escobar with major of 1624-34, Gothic ribbed vaulting of heavy masonry alterations noticeable in the heavy rustication of the construction. twin towers and different proportions of their bases in The church of San Pablo designed by the Jesuit relation to the central frontispiece. architect Martín de Aizpitarte may have in fact The design and construction of the Franciscan influenced the design of San Francisco, since both church presented Vasconcelos and Escobar with the churches share the main features of a central nave most serious challenge of their professional careers flanked by single aisles with cupolas and a domed and gave them the opportunity to study the problem transept. But the plan by Vasconcelos (Fig. 4) is much of an effective antiseismic structural system anew. more complex, for it is a Caravaca cross with a fully The challenge involved unusual compJications since developed double transept in the eastem end and, in the new edifice had to incorporate substantial contrast to the uniform rhythmic articulation of the portions of the earlier structure, including the sub- chapel-aisles of San Pablo, it has a triadic sequential terranean galleries that had served as catacombs since organization of the side chapel bays and are he s the sixteenth century and had weakened the brick leading toward the main transept. Moreover, the nave foundations. The final solution arrived at by of San Francisco is covered by a barrel vault Vasconcelos and Escobar was, from any point of supported on transverse arches and cut at each bay by view, a strike of genius. lt consisted in adapting lunette windows that accentuate a distinct airy feeling quincha construction to the complex forms of the (Fig. 5). Here the interior wall measurements of the roofing structures, including the dome above the length of the nave (approximately 262. 48 ft.) and transept, the vaults, and also, as will be seen later in this study, the arcades of the second story of the main cloister. These monumental forms, consisting of plaster-coated webs of bund1ed and matted reeds on timber frames, were reinforced by strong cane bent to produce the desired curviJinear shapes (Fig. 5). Light, yet elastic enough to survive the severe earthquakes, quincha allowed for flexibility of formal and spatial designo At the same time, the stucco covering gave the visual impression of masonry construction, an effect greatIy enhanced by rich geometric ornamentation in relief. Thanks to this innovation, the vast and luminous interior spaces of San Francisco were able to survive virtually intact for over three hundred years. Figure 4 When viewed for the first time upon their Lima: Church and Monastery of San Francisco, general completion, the quincha vaults of San Francisco (Fig. ground floor plan in its present state (after H. Rodríguez- 6) were appropriately compared to the Galapagos Camil10ni and V. Pimentel Gurmendi, Proyecto Integral tortoise shells and to the sails of a ship blowing in the para la Conservación-Restauración del Cunvento e wind by Suárez de Figueroa: Iglesia de San Francisco de Lima) Quincha architecture: The development of an antiseismic structural system 1745

Figure 5 Figure 7 Lima: Church of San Francisco, interior view of dome and Lima: Church of San Francisco, exterior view of roof transept (photo before 1940 by L. A. Rozas) damaged by the earthquake of October 17, 1966 (photo of 1967 by A. GuiJlén)

length of the main transept (approximately 131.24 ft.) required. The webs of cane fastened with leather yield the simple ratio 1: 2, wruch is consistentIy used straps to the wooden frames are visible, with exterior also for the height of the arcade s of the nave in protection provided by thin fIat tiles laid on a coat of relation to its total height and for the width of the mud (torta de barro). In the interior, the facing of a arches in relation to their height. 12Thus Vasconcelos layer of white stucco consisting of geometric patterns succeeded in designing the interior spaces with the of Renaissance and mudéjar origin is applied to the classical grandeur that best suited rus aesthetic ideals, intrados of the vaults and supporting arches; and while making the building structurally sound so that continued on the masonry piers and walls, achieving it would withstand future earthquakes. a Iota] visual unity (Fig. 5). For the construction of the Old photographs of the roof of the church of San wooden frames, it is very likely that Vasconcelos Francisco (Fig. 7) taken after the earthquake of 1966 would have relied on European models, such as those permit an appreciation of how quincha construction iIIustrated by Philibert De L'Orme in his Le Premier was adapted to the vaulting system that were Tome de l'Architecture (Paris, 1567). Architectural treatises that were printed in Europe, particularly since the sixteenth century on- wards, were widely circulated in the Spanish American colonies thus providing an important didactic tool and source of inspiration for designs. As 1 have shown elsewhere,13 De L'Orme may have also served as a source for some of the decorative patterns found in the interior and exterior of the church, i.e. for the heavy rustication that Escobar used in the towers. On the other hand, the structural design of the present cupolas of the twin towers which replaced their original third stories after the earthquake of 1746 (Fig. 1), appear to be derived from models in Fray Lorenzo de San Nicolás' Arte y Uso de Arquitectura Figure 6 (Madrid, 1633-64).14 The dome of the church of San Lima: Church of San Francisco, interior view of nave vaults Francisco measuring approximately 36.9 ft. in (photo of 1974 by T. Cusman) diameter and rising to a height of 85 ft. up to the apex 1746 H. Rodríguez

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Figure 8 Lima: Church of San Francisco, JongitudinaJ section (after H. Rodríguez-CamiJloni and V. Pimcntel Gurmendi)

of the intrados (excluding the lantern) dominates the L'Orme's treatise Nouvelles lnventions pour bien interior space focusing attention on the transept and bastir (Paris, 1561), where a method of dome the apse with the main altar (Fig. 5). It is in itseJf a construction is described as follows: remarkabJe quincha structure, carefuJly designed with the earthquake problem in mind. The section drawing lt is a very simple method, and of great use in domes, (Fig. 8) reveals it is actually a double-shell dome, even of ]arge diameter, the princip]e being that of making the several ribs in two or more thicknesses, which were with a different interior and exterior profile. cut to the curve in ]engths not so great as to weaken the Internally, the dome describes a perfect hemisphere timber, and securing these weJl togcther by bolts or keys, supported on pendentives, whereas in the exterior the and observing especially to break the joints of the severa] dome projects a massive though somewhat shallower thicknesses.'5 shape resting on a cylindrical drum pierced with round windows. A greater stability was thus assured, De L'Orme's detaiJed drawings (Fig. 9) also show since the exterior drum provides continuous how the wooden ribs had to be attached lo the buttressing at the critical points where the lateral masonry structure. However, it would have still been thrust is most accentuated. The geometric vertical necessary for Vasconcelos and Escobar to adapt this bands that cover the interior surface contributing to structuraJ trame to quincha construction. And the emphasize the effect of verticality, actuaJly locate success of the Franciscan model made the quincha some of the internal wooden ribs; and small «dots» dome the universally adopted solution throughout the that form part of the geometric ornament are in fact Peruvian coast from the middle of the seventeenth pegs that help attach the stucco to the structural century onwards. Other notable examples included frame. the main dome of the church of Santo Domingo in The design of the wooden structural frame of the Lima, rebuilt by the Dominican architect Fray Diego dome may have been derived from the models in De Maroto in 1678-81; the dome of the camarín of the Quincha architecture: The deve10pment of an antiseismic structural system 1747

Figure 10 Trujillo, Peru: Church of San Francisco, rebuilt after 1619, analytical drawing of dome quincha construction for restoration project following earthquake of May 31, 1970 K.J (after UNESCO-CRYRZA) -~:¡. 'r'"'

been done in the Franciscan cloister dating from c. 1629. But when the decision was made to rebuild the Figure 9 church of San Francisco in 1657, and it became Philibert De L'Orme: Dome construction detail from necessary to rebuild the second story of the main Nouvel/es Inventions pour bien bastir (Paris, 1561) cloister, a new design that has also been attributed to Vasconce]os was used. As a result, the newly developed system of quincha construction was adopted for this pan of the monastery, church of La Merced in Lima of 1774, a design accommodating the elegant design of round arches attributed to the viceroy-architect don Manuel de and ova] openings which may have been inspired by Amat y Junyent (1704-1782); and the dome of the Sebastiano SerJio (Fig. 14) and can stiJ] be seen today. church of San Francisco in Trujillo, rebui]t after 1759 Yet another contemporary engraving by Nolasco and badly damaged in the earthquake of 1970 (Fig. provides irrefutable evidence that this was the 10). Turning attention to the main cloister of San original design of the cloister as rebuilt during the Francisco (Fig. ] 1), one of the glories of Spanish seventeenth century. 17 The brick arches and colonial architecture in Lima, yet another cha1lenge corresponding brick and adobe peripheral wal!s of the that confronted architects since the beginning of the ground level (Fig. 11), on the other hand, date from beginning of the seventeenth century can be the J620s, when Bernabé Cobo witnessed the examined. The problem here consisted in designing construction of «a new c]oister.»'s Conclusive proof an earthquake-proof two-story elevation with open of this fact is afforded by the mural paintings that arches carried on piers or co]umns. According to the were discovered in ] 974 above the revetments of Augustinian chronicler Antonio de la Calancha, even Sevillian ti]es (azulejos) that decorate the galleries.'Y iron tie bars had been tried in the principal cloister of These paintings, of exceptiona] artistic quality, San AgustÍn, but al! in vain.J6 Repeated failures had appear to date from the beginning of the seventeenth shown the imprac- ticality of using stone or brick as a century and almost certainly can be attributed to an building material in the second story arcades, as had Italian artist belonging to the circle of Bernado Bitti --

1748 H. Rodríguez

Figure 11 Lima: Main cloister of San Francisco, panoramic view (photo by Guillén)

(J548-]6]O), Mateo Pérez de Alesio (]540?-l632?) desired flexibility. Furthermore, the adaptabili ty of or Angelino Medoro (] 565-163] ?). The implications quincha construction to an intricate design with rich of this important discovery are aJso significant for the omamentation in high re]ief was ful1y demonstrated. chronology of the church rebuilt by Vasconce]os, Measurements taken of the quincha elements in the because it shows that the dimensions of the nave were Franciscan cloister be1'ore and after the earthquake of already fixed by the pre-existing southern wall of the 197420 permit a better appreciation of the structura] cloister which had to be incorporated in the new behavior of the system. In most cases, the tendencies building (Fig. 4). 01' de1'ormation appear to have been accentuated Thus the designers' major problem in the main because 01' the deterioration of materia]s across time cloister of San Francisco consisted in adding a second and a generallack of maintenance, particu]arIy during story that would achieve a satisfactory structural and the twentieth century. The degree of de1'ormation of stylistic integration. How this was done can be best the arcades, with a pronounced outward bu]ging in iIIustrated with the he]p of analytical drawings (Figs. their center points, may also be seen in direct 12 and ]3): On the outside, a light structure of wood, re]ationship to the rigidity provided by the structures cane and p1aster was ef1'ectively anchored in a brick sUlTounding the cloister. For example, the southern parapet raised above the existing arcade; while the side cOlTesponding to the church has experienced the lateral bracing to the interior walls and roo1' consisted Jeast distortion. In contrast, the western side that has of wooden beams and joists. This solution provided a also suffered from high percentages of water unified structura] system which minimized the in1'iltration affecting the stabiJity of the foundations loading over the existing masonry structures with the and structural piers, the vertical and horizontal Quincha architecture: The development of an antiseismic structural system 1749

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t9ÍIGI,.G:- IInckl~~ -jn pQftlMlro-~ porcpot10o. IGd./IIo , Figure 13 .~ ___JM Lima: Main cloister of San Francisco, section drawing showing anchoring of quincha structure of upper story Fiura 12 arcades (after H. Rodríguez-Cami\1oni and V. Pimentel Lima: Main cloister of San Francisco, analytical drawing of Gurmendi) wooden framing of upper story arcades (after H. Rodríguez- Cami1loni and V. Pimentel Gurmendi)

Indeed, the coJlaboration between Vasconcelos and deformation has been the most acute. Fortunately, a Escobar may have extended back in time more than is restoration project has been implemented in recent known today; and it was certainly not restricted to the years to save the Franciscan cloister and protect it church of San Francisco and the Mercedarian cloister. from future deterioration.2! On March 22, 1668, for instance, Escobar signed in The main cloister of San Francisco had a decisive Lima another contract to build the church and convent intluence on other Lima cloisters. The tripartite motif of the Amparadas de la Purísima Concepción (today consisting of a semicircular arch fIanked by two oval Santa Rosa de las Monjas), «according to the plans openings became a favorite model for other designs made with the approval and consultation of don (Fig. 11). For example, it was used in the second story Constantino de Vasconcelos.»23 The document makes of the main cloister of Santo Domingo (Fig. 15) when it clear that the Portuguese architect had designed the it was rebuilt in 1678-81; and again in the «Cloister building, and that Escobar had copied this design on of the Doctors» of La Merced, completed around paper in order to execute the work. Luckily this plan 1680. Recent research has revealed that Vasconcelos signed by Escobar has survived; and there can be no and Escobar also worked on the Mercedarian cloister doubt that quincha construction was used here also, between 1662 and 1668; and it is possible the work since the specifications indicate that the barrel vault of completed in the later date may have followed their the church was to be made of oak trame, cane fill-in original design.22 and stucco finish imitating masonry work (<

any architect or builder failing to obey this regulation.24 Later in the eighteenth century, after the devastating earthquake of 1746 this prescription won the endorsement of the eminent French military engineer Louis Godin.25 Throughout the nineteenth and early twentieth centuries, as many houses in downtown Lima stil! show, walls continued to be built with wooden frames and bamboo in-fill covered with a layer of mud with gypsum or cement. Over these walls, the typical roof included a layering of materials consisting of supporting wooden beams, wood sheathing, building paper, earth-fill, building paper again, and a final coat of gravel and asphalt. And even today, the use of «improved» quincha construction continues to be seriously promoted through popular self-help housing manuals distributed by the Peruvian government in collaboration with the international lntermediate Technology Development Group (ITDG).26 As the late architectural historian Harold E. Wethey pointed out in 1949, «the important new direction taken by seventeenth century architecture in Lima came with the rebuilding of the church and monastery of an Francisco. . . the decision to adopt imitation barrel vaults constructed of cane and plaster was decisive. This expediency solved the problem of the earthquake- A ridden city, and thenceforth no attempt was made to employ heavier materials.»27 lndeed, Vasconcelos and Figure 14 Sebastiano Ser1io: Window design fram Libro VII, «Ddle Escobar' s antiseismic system of construction became so finestre» (Vicenza, 1618) widespread during the eighteenth century, that even the Gothic ribbed vaults of the Cathedral of Lima were rebuilt with quincha after the great earthquake of 1746. No wonder the seventeenth century historian Fray cañas y cerchas de roble que parezca bóveda de Antonio de Lorea had once praised Vasconcelos for his albañilería»). When the church and convent of Sanat «genius and exceptional virtue»;28 while the viceroy Rosa de las Monjas was built on this same site in don Melchor de Navarra y Rocaful recorded in his 1704-08, the new buildings appear to have Memoria de Gobierno of 1687 that Escobar was «a first incorporated, at least in part, the original plan of 1668. rank architect of this city, worthy of recognition among Constantino de Vasconcelos and Manuel de the best in Europe».29 Escobar forever changed the course of the development of Spanish colonial architecture along the Peruvian coast as time would prove the efficacy of NOTES quincha construction against earthquakes. The fact is that fol!owing the severe earthquake of October 20, 1. In this regard, the folJowing pioneer studies may be 1687, the viceroy Conde de la Monclova ordered that cited: Harald E. Wethey, Colonial Architecture and no more tal! houses should be built in Lima with Sculpture in Peru (Cambridge, 1949) remained adobe and brick; and those that would be bui]t were to ambivalent about quincha construction (which he does use quincha construction (telares de madera), not refer to by name), even though he recognized the indicating that severe penalties would be applied to importance of the church of San Francisco in Lima in ---.--- ~--

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Quincha architecture: The development of an antiseismic structural system 1751

Figure 15 Lima: Main c\oister of Santo Domingo, lower story, 1590-1594; second story arcades remodeled, 1678-81; and rebuilt in 1756

this context (see note 27 below). Lamenting the fact that George Kubler and Martín Soria, Art and Architecture Lima builders had not adopted as a standard solution to in Spain and Portugal and their American Dontinions the earthquake problem the use of paneled wooden 1500-/800 (Harmondsworth, 1959), p. 83: «On the arid ceilings of Rcnaissance or mud~jar type, he stated: Peruvian coast, the same me nace [of earth quakes] was

3. See Humberto Rodríguez-Camilloni, «Constantino de frame of a cupola on an octagonal drum reproduced in Vasconcelos» in Encyclopedia of Latin American & George Kubler, Arquitectura de los Siglos XVII y XVIII, Caribbean Art (London, 2000), pp. 682-683. Abundant Ars Hispaniae, XIV (Madrid, 1957), Fig. ]07, p. 78. biographical information on Escobar may be found in 15. This is an excerpt of De L'Orme's text as summarized in Emilio Harth-Terré, Artífices en el Virreinato del Perú English translation by Joseph Gwilt, The Encyclopedia (Lima, 1945), pp. 199-222. of Architecture (London, 1867), p. 612. For the 4. Recent archaeological work at Caral in the Supe river widespread use of De L'Orme's method of dome valley of the northern coast of Peru dating from construction in North America during the late eighteenth 3000-1500 B.C. has revealed one of the earliest examples and early nineteenth centuries, see Douglas Harnsberger, of quincha wall construction. Cf. Ruth Shady Solís, et.al., «In Delorme's Manner,» Association for Preservation La Ciudad Sagrada de Caral-Supe (Lima, 1999). Technology, APT Bulletin, XIII, No. 4 (1981), pp. 1-8. 5. Bernabé Cobo, Inca Religion and Customs, English 16. Fray Antonio de la Calancha, Chronica Moralizada del trans. by Roland Hamilton (Austin, 1990), pp. 190-191. Orden de S. Agustin en el Peru, 1 (Barcelona, 1638), p. 6. Cf. Volker Hartkopf, Técnicas de construcción 250. autóctonas del Perú (Washington, D.C., 1985), p. 124. 17. This engraving is also reproduced in Rodríguez- 7. Fray Miguel Suárez de Figueroa, Templo de N. Grande Camilloni, «El Conjunto Monumental de San Francisco Patriarca, San Francisco de la Provincia de los doze de Lima,» op. cit., p. 42. apóstoles de el Perú en la Ciudad de los Reyes 18. Bernabé Cobo, Fundación de Lima (1629) in Obras del arruinado, restaurado, y engrandecido de la Padre Bernabé Cobo II, Biblioteca de Autores providencia Divina, published together with Visita y Españoles, XCII (Madrid, 1964), p. 421. declaración que hizo el P. Fray Juan de Benavides, 19. Fully documented in Humberto Rodríguez-Camilloni ministro legal y honesta persona del Santo Tribunal de and Victor Pimentel Gurmendi, Proyecto Integral para la Inquisición y sacristán mayor del Convento Grande la Conservación-Restauración y Adecuación de N.P.S. Francisco, en la residencia del Rmo. P.D. Museológica del Conjunto Monumental del Convento e Luis Zerbela, padre perpetuo de la Provincia de Iglesia de San Francisco de Lima, unpub]ished Santiago, y de todas las del Perú, del tiempo que fue restoration project (Lima, 1975). comisario general de ellas (Lima, 1675), f. 4v. 20. Ibid. 8. Fray Miguel de Aguirre, Población de Baldivia, 21. This work, completed in 1989. followed the Motivos, y medios para aquella fundación. . . (Lima, specifications in Rodríguez-CamilJoni and Pimentel 1647), tI 35v.-36. Gurmendi, op.cit. 9. Archivo General de la Nación, Lima, Marcelo Antonio 22. Cf. Antonio San Cristóbal, Arquitectura virreynal de Figueroa, Escribano PúbJico, Prol. 631, Lima, 14 de religiosa de Lima (Lima, 1988), pp. 316-319. junio de 1659, ff. 2300-2301v. 23. Archivo Genera] de la Nación, Lima, Andrés Roncal ] O. Suárez de Figueroa and Benavides, op. cit., reproduced Pimentel, Escribano Público, Prol. 1682, Lima, 22 de in Humberto Rodríguez-Camilloni, «El Conjunto marzo de 1668, ff. 188-192v. A copy of the original Monumental de San Francisco de Lima en los Siglos ground floor plan signed by Manuel de Escobar is xvn y XVIII,» Boletín del Centro de Investigaciones attached. Históricas y Estéticas, Universidad Central de 24. Archivo Histórico de la Municipalidad de Lima, Libro I Venezuela, Facultad de Arquitectura y Urbanismo, No. de cédulas y provisiones (1568-1781), f. 101. The 14 (Caracas, septiembre 1972), pp. 42-43. document in question corresponds to a proclamation by 11. Suárez de Figueroa, op. cit., f. 12. the viceroy Conde de la Monclova dated 1699. 12. The majestic interior of San Francisco led the late 25. Archivo General de Indias, Seville, Audiencia de Lima, Peruvian art historian Jorge Bernales Ballesteros, Lima, !eg. 5 11, «Testimonio de los Autos Seguidos en el la Ciudad y sus Monumentos (Seville, 1972) to label the Supremo Gobierno del Perú, sobre la Reedificación de church the key example of «the great limeño Spanish las Casas Altas Arruinadas en la Ciudad de Lima, con colonial baroque [architecture).» However, it is important Ocasión del Terremoto Acaecido el Año de 1746.» to note that all the signiflcant spatial relationships of the 26. Intermediate Techn010gy Deve]opment Group, interior are governed by classical proportions. Construyamos con Quincha Mejorada (Lima, ]993). 13. Humberto Rodríguez-Camilloni, «Forma y Espacio en 27. Wethey, op. cit., p. 17. la Arquitectura ReJigiosa de la Capital del Virreinato 28. Fray Antonio de Lorea, Santa Rosa, ... Historia de su del Perú Durante los Siglos XVII y XVlIl,» in admirable vida y virtudes (Madrid, 1671), f. 7. Arquitectura Colonial Iberoamericana, E. Armitano, 29. Manuel A. Fuentes, ed., Memorias de los Virreyes que ed. (Caracas, 1997), pp. 287-318. han gobernado el Perú durante el tiempo del Coloniaje 14. See in particular San Nicolás' drawing for the wooden Español, II (Lima, 1859), p. 372.